정류장 — 콘티 패널 → 실사 스틸 체인 (nb2 v18 콘티를 코드로 반분 → 패널=구도 참조 + 캐릭터 합성 참조 2장만(배경 참조 제외) → i2/nb2 스틸)
Draw ONE storyboard (conti) sheet: 4 panels made by ONE vertical cut at exactly 50% of the width and ONE horizontal cut at exactly 50% of the height — a 2x2 grid, each panel exactly one quarter of the image. STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): a dense Korean mountain forest with thick undergrowth. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 한쪽 신발이 벗겨진 한국인 남자가 우거진 수풀 사이를 달리며 한 발을 허공에 내딛고 있는 도중의 전신 구도 MOVEMENT (follow exactly): The terrified, wounded Korean man runs through dense undergrowth while fleeing an unseen threat, driving forward with one foot airborne, one shoe missing, and a pain-guarded, unsteady stride; his direction relative to the camera is unspecified. FIGURES — apparent size & depth order (follow exactly): The man's full body fills roughly ~4/5 of the frame height; he is the sole visible figure and thus both the nearest and farthest person in the frame. PANEL 2: 검은 형상의 인영이 허공에 뛰어오른 채 한국인 남자를 향해 두 팔을 뻗고 있는 순간 MOVEMENT (follow exactly): A real, normal-human-proportioned person appearing as a dark silhouette springs through the air toward the terrified, wounded Korean man, reaching both arms forward to pounce on him as he flees; their movement toward or away from the camera is unspecified. FIGURES — apparent size & depth order (follow exactly): The airborne dark figure and the Korean man each read at roughly ~1/2–2/3 of the frame height as their paths rapidly converge. Neither is established as nearer or farther from the camera, but the dark figure is closing the physical gap to the man. PANEL 3: 형사 무리 한가운데 서서 손가락으로 한쪽을 가리키는 혜수의 상체 MOVEMENT (follow exactly): static: Hyesu stands upright at the center of the detectives, directing the investigation by pointing one finger toward one side while her gaze and upper body orient toward that indicated direction. FIGURES — apparent size & depth order (follow exactly): Hyesu's upper body fills roughly ~2/3 of the frame height and is the nearer, dominant figure; the surrounding detectives appear smaller, roughly ~1/3–1/2 of the frame height, and farther from the camera around her. There are 3 shots but 4 panel slots: draw the shots in panels 1..3 and leave the remaining panel(s) COMPLETELY BLANK PURE WHITE — empty white paper, not even a frame line inside. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2, 3) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
Draw ONE storyboard (conti) sheet: 2 panels made by ONE vertical cut at exactly 50% of the image width — each panel is exactly half the width and the FULL height (1 row x 2 columns). STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): a small seaside bus stop with a bench facing the sea at night on a quiet Korean coastal road. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 혜수의 손이 음료수 캔을 쥔 채 수리영 앞으로 내밀어진 순간 MOVEMENT (follow exactly): Hye-su extends her hand and the drink can from her side into the space directly in front of Suri-young, who remains seated and blankly oriented toward the sea. FIGURES — apparent size & depth order (follow exactly): Hye-su's hand and can appear large at roughly ~1/3 of the frame height and are NEARER to the camera; seated Suri-young appears around ~1/2 of the frame height and is FARTHER behind the offered can. PANEL 2: 멀리서 혜수의 전신과 한 발을 공중에 띄운 mid-stride 자세로 달리는 수리영의 뒷모습을 한 프레임에 담은 넓은 구도 MOVEMENT (follow exactly): Suri-young runs away from Hye-su and away from the camera with her back visible and one foot airborne mid-stride, while Hye-su remains behind facing her path. FIGURES — apparent size & depth order (follow exactly): Hye-su's full body appears about ~1/3 of the frame height and is NEARER to the camera, while the departing Suri-young appears smaller at ~1/5 and FARTHER along the route away. The distance between them increases as Suri-young runs ahead and Hye-su stays behind. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal. STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): the exterior of an old Korean multi-family villa: narrow alley and small yard at ground level, an added exterior steel staircase climbing the wall, and a rooftop with a small rooftop room (steel front door, one lit window), a water tank, a clothesline and a low parapet. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코 MOVEMENT (follow exactly): The stranger's shoe toe advances away from the rooftop camera through the barely opened iron door and into the dark room. FIGURES — apparent size & depth order (follow exactly): The shoe toe is small, about ~1/6 of frame height, and is FARTHER than the NEARER iron door and its narrow opening; the dark interior recedes farthest beyond it. PANEL 2: 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도 MOVEMENT (follow exactly): static: the large shadow looms over the smaller shadow, its head sharply bent toward the smaller figure's shoulder as if biting it, while the smaller figure is pinned beneath the attack. FIGURES — apparent size & depth order (follow exactly): The large shadow fills roughly ~3/4 of frame height and overlaps the smaller shadow, which fills about ~1/2; both appear on the same FAR window plane, behind the NEARER window surface, with no clear depth separation between them. PANEL 3: 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업 MOVEMENT (follow exactly): static: Su-ri-young pauses midway up the stairs, gripping the pipe railing with a tense hand and wrinkling her nose at the sudden foul smell while facing upward. FIGURES — apparent size & depth order (follow exactly): Her close-up face fills about ~2/3 of frame height and is the NEAREST figure; her railing hand is slightly FARTHER, while the stairway behind her recedes farthest. PANEL 4: 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도 MOVEMENT (follow exactly): static: Su-ri-young stands on the rooftop facing the half-open iron entrance door, her attention fixed on the dark opening ahead. FIGURES — apparent size & depth order (follow exactly): Su-ri-young occupies roughly ~1/2 of frame height in the NEARER plane, while the half-open door is FARTHER ahead and fills about ~1/3; her sightline runs directly across the rooftop into its dark gap. PANEL 5: 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습 MOVEMENT (follow exactly): static: Su-ri-young stands motionless after fleeing downstairs, her shocked body slack and her unfocused eyes staring into empty space. FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of frame height and is the sole, NEAREST figure, with the surrounding exterior space FARTHER behind her. PANEL 6: 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도 MOVEMENT (follow exactly): static: Su-ri-young keeps her head raised toward Hye-su, meeting her face from the side with a stunned, unfocused posture. FIGURES — apparent size & depth order (follow exactly): Su-ri-young and Hye-su each fill roughly ~1/2 of frame height in profile and stand at approximately the same camera distance, neither clearly NEARER than the other; they face one another at close conversational range. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal. STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): the interior of a small Korean rooftop home: living room with a small window, kitchenette and dining table; a bedroom with a bed against one wall and a curtained window; a tiny tiled bathroom with a mirror. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 옷과 피부가 피투성이가 된 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태 MOVEMENT (follow exactly): static: Minsuk is lifeless on the floor, collapsed in a seated fall with her head hanging forward, torso slumped asymmetrically, limp limbs, and her weight fully fallen rather than held upright. FIGURES — apparent size & depth order (follow exactly): Minsuk fills roughly 2/3 of the frame height and is the NEARER subject, while the bloodied floor and room behind her are FARTHER. Her blood-soaked clothes and skin remain visible across her collapsed body. PANEL 2: 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태 MOVEMENT (follow exactly): static: the half-formed red circle remains on the wall above the bed, with no person crossing the frame. FIGURES — apparent size & depth order (follow exactly): The red circular mark fills about 1/2 of the frame height and is FARTHER on the wall, while the upper part of the bed is NEARER in the foreground. PANEL 3: 핏자국 없이 깨끗한 방 내부 전경 MOVEMENT (follow exactly): static: the excessively clean, bloodless room stands empty, with no one entering, leaving, or moving through it. FIGURES — apparent size & depth order (follow exactly): The empty room fills the full frame, with the NEARER side of the room opening toward the camera and the clean back wall and far corners appearing FARTHER away. No person, bloodstain, red mark, or body is visible. PANEL 4: 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태 MOVEMENT (follow exactly): static: a half-formed red circle is visible on the bathroom tile wall only through the mirror reflection, with no person moving through the shot. FIGURES — apparent size & depth order (follow exactly): The reflected red circle fills roughly 1/3 to 1/2 of the frame height; the mirror surface is NEARER to the camera, while the reflected tiled wall and mark read as FARTHER within the reflection. PANEL 5: 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경 MOVEMENT (follow exactly): static: muddy footprints lie across the living-room floor among overturned dining chairs, but their direction of travel cannot be determined from the shot. FIGURES — apparent size & depth order (follow exactly): The living-room interior fills the frame; the muddy footprints spread across the NEARER floor, while the overturned dining chairs are FARTHER around the table. Individual footprints appear small, roughly 1/10 of the frame height, while the chairs occupy about 1/3 to 1/2. PANEL 6: 붉은 원 한가운데 피 묻은 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷 MOVEMENT (follow exactly): static: the bloodstained old photograph remains fixed at the center of the red circle on the wall, with no hand or person entering the frame. FIGURES — apparent size & depth order (follow exactly): The photograph fills roughly 1/2 to 2/3 of the frame height and is NEARER than the wall surface, while the red circle extends FARTHER behind it across the wall. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal. STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): a mid-size Korean supermarket: shelved sales floor inside; the entrance area outside with a bicycle rack and one wall-mounted CCTV camera above; a small back security office with CCTV monitors. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 수리영이 마트 유니폼을 입은 한국인 여성 직원을 마주보며 입을 살짝 벌린 측면 구도 MOVEMENT (follow exactly): static: Su-ri-young and the female supermarket employee stand facing each other in profile, Su-ri-young holding her mouth slightly open as she addresses the employee. FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the female employee each fill roughly ~1/2 of the frame height and occupy a comparable midground plane, with neither clearly nearer to the camera; they remain a short conversational distance apart across opposing sightlines. PANEL 2: 마트 밖으로 나온 수리영이 손에 든 스마트폰 액정을 내려다보는 상체 MOVEMENT (follow exactly): static: Having come out of the supermarket, Su-ri-young stands with her upper body angled toward the smartphone in her hand and her gaze lowered to its screen while trying to make contact. FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~2/3 of the frame height in the near foreground, while the smartphone is small, about ~1/10, and held within the same near plane below her face; she is the sole visible figure. PANEL 3: 수리영과 남자직원이 마트 밖에서 벽면의 CCTV를 올려다보는 뒷모습 MOVEMENT (follow exactly): static: Outside the supermarket, Su-ri-young and the male employee stand with their backs to the camera, bodies and heads tilted upward toward the wall-mounted CCTV camera as they check its coverage. FIGURES — apparent size & depth order (follow exactly): Su-ri-young and the male employee each fill roughly ~1/2 of the frame height in the nearer foreground-to-midground, standing alongside each other at comparable depth, while the CCTV camera is much smaller, around ~1/15, and farther away high on the wall. PANEL 4: 수리영이 귀에 스마트폰을 댄 채 정면을 응시하는 상체 클로즈업 MOVEMENT (follow exactly): static: Su-ri-young holds a smartphone to her ear and faces forward, explaining the situation to Hye-su by phone. FIGURES — apparent size & depth order (follow exactly): Su-ri-young’s upper body fills about ~3/4 of the frame height in the near foreground, with the smartphone small, around ~1/12, against her ear in the same near plane; no other person is visible. PANEL 5: 마트 총무과 책상 앞, 한국인 남성 보안직원과 혜수가 컴퓨터 모니터를 향해 몸을 기울인 측면 MOVEMENT (follow exactly): static: The male security employee and Hye-su lean forward from the desk toward the computer monitor, both directing their gaze at the CCTV footage. FIGURES — apparent size & depth order (follow exactly): The security employee and Hye-su each fill roughly ~1/2 of the frame height and occupy a comparable midground depth, with neither clearly nearer to the camera; the monitor is smaller, about ~1/3, positioned directly along their converging sightlines. PANEL 6: 흑백 CCTV 화면 속 어두운 구석에 사람 형상이 희미하게 찍힌 모니터 클로즈업 MOVEMENT (follow exactly): static: A faint, unidentifiable human-shaped form remains in a dark corner of the black-and-white CCTV image, with no discernible direction of travel or body orientation. FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the entire frame and is the nearest visible object, while the indistinct human-shaped form is tiny, about ~1/10 of the frame height, and appears far away within the recorded space. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5, 6) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
Draw ONE storyboard (conti) sheet: 6 panels made by TWO vertical cuts at exactly 1/3 and 2/3 of the width and ONE horizontal cut at exactly 50% of the height — a 3-column x 2-row grid, all six panels exactly equal. STYLE: hand-drawn PRE-PRODUCTION STORYBOARD FOR A LIVE-ACTION FILM SHOOT — the working drawings a professional film storyboard artist makes for the director and cinematographer of a real movie: REALISTIC adult human proportions and faces (ordinary Korean adults, film-actor realism), true cinematic lens framing, and naturalistic light-and-shadow blocking rendered in monochrome graphite pencil tone on white paper. ABSOLUTELY NOT manga, NOT anime, NOT cartoon, NOT webtoon, NOT comic-book style: no stylized or enlarged eyes, no cute or youthful idealized faces, no clean ink outlines — every panel must read like a frame of a live-action film sketched in pencil. No color anywhere. THE LOCATION (same in all drawn panels): a modest Korean provincial police station: a detectives' office with desks, monitors and a doorway; and the street right in front of the building. PURPOSE: each panel captures only the CAMERA COMPOSITION of one shot — framing (close-up / medium / wide), where the subject sits in the frame, and continuity between panels. Keep every panel extremely simple: only what matters for composition. MOVEMENT IS SHOWN BY THE FIGURE ITSELF, NEVER BY MARKINGS: convey direction of travel purely through the body — stride mid-motion, body lean into the path, back view vs front view, and the stated size/depth cues. Do NOT draw arrows, motion lines, path lines, speed lines or any diagram markings of any kind. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Draw what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy drawings. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still draw them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. GEOMETRY — ANALYSE BEFORE DRAWING: from each panel's Korean shot text, first work out the spatial facts and draw EXACTLY those, never re-stage them: (a) each figure's DISTANCE from camera (tight insert / close-up / medium / full / wide — a shot about a hand or an object is a tight insert, not a two-shot); (b) each figure's FACING and MOVEMENT DIRECTION relative to camera — '뒷모습' means seen from BEHIND, moving AWAY from camera into the depth of the frame, not sideways; a profile means lateral movement; (c) relative positions and distances BETWEEN figures. Keep every established screen direction consistent across panels (180-degree rule): a person who leaves in one panel keeps the same on-screen direction wherever the movement appears again. SIZE & DEPTH ARE CONTRACTUAL: each panel states every figure's apparent size in the frame and the explicit near/far depth order. Draw exactly those proportions — a farther figure MUST be drawn clearly smaller than a nearer one; never equalize figure sizes, especially when several figures share a panel or their paths relate to each other. DEPARTING FIGURE — a figure running/walking AWAY must be unmistakably departing, never approaching: seen exactly from behind (back of the head only, no face, no chin, no cheek line), body leaning into the path, mid-stride with one shoe sole toward the camera. THE STATED SIZE/DEPTH WINS: draw the departing figure at exactly the apparent size and depth the panel's FIGURES line states (if stated FARTHER/small, it stays small in the distance — never enlarge it into the foreground for drama). CONTINUITY: all drawn panels are the SAME single location — fixed features (doors, stairs, windows, poles, desks) keep the same position and left/right relationships across panels so the panels cut together as one continuous scene. PANELS (one shot per panel, Korean shot text): PANEL 1: 혜수가 스마트폰 액정을 김형사 쪽으로 불쑥 내민 순간 MOVEMENT (follow exactly): Hye-su abruptly thrusts the smartphone forward from her side toward Detective Kim, presenting Min-sook's saved number while remaining inside the office. FIGURES — apparent size & depth order (follow exactly): Hye-su and Detective Kim each fill roughly ~1/2 of the frame height, with Hye-su NEARER to the camera and Detective Kim FARTHER across from her. The extended smartphone fills about ~1/5 of the frame height, projecting from Hye-su toward Detective Kim and lying between their positions. PANEL 2: 수리영이 두 눈을 크게 뜨고 입을 살짝 벌린 굳은 얼굴 클로즈업 MOVEMENT (follow exactly): static: Su-ri-young holds rigid with fear and shock, her widened eyes fixed forward and her lips slightly parted. FIGURES — apparent size & depth order (follow exactly): Su-ri-young's face fills roughly ~3/4 of the frame height; she is the sole and therefore NEAREST visible figure, with no farther person shown. PANEL 3: 모니터 화면에 바다 지도가 펼쳐져 있고 붉은색 핀과 좌표 숫자가 떠 있는 클로즈업 MOVEMENT (follow exactly): static: the monitor displays a sea map with a red location pin and coordinate figures, with no physical movement in frame. FIGURES — apparent size & depth order (follow exactly): The monitor image fills nearly the full frame and is the sole, NEAREST core object; the map, pin, and coordinate text occupy the same flat display plane with no farther figure visible. PANEL 4: 수리영이 메모지가 들어간 겉옷 주머니에 손을 넣은 채 사무실 출입문을 향해 몸을 돌린 정지 순간 MOVEMENT (follow exactly): static: Su-ri-young stands tensely with one hand inside the coat pocket holding the folded note, her body turned toward the office exit and poised to leave the room. FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~2/3 of the frame height and is NEARER to the camera, while the office doorway is FARTHER in the direction she faces. Her intended path runs from her position inside the office toward and through that doorway. PANEL 5: 경찰서 건물 밖 도로 위에서 수리영이 자전거 안장에 앉아 상체를 앞으로 숙인 채 머리카락이 뒤로 흩날리는 측면 MOVEMENT (follow exactly): Su-ri-young rides the bicycle along the road outside the police station, moving laterally across the camera's side view with her torso pitched forward over the handlebars and her hair streaming backward, neither directly toward nor directly away from the camera. FIGURES — apparent size & depth order (follow exactly): Su-ri-young fills roughly ~1/2 of the frame height, and the bicycle-and-rider silhouette together fills about ~2/3; both are NEARER to the camera than the FARTHER police-station exterior. Her path continues along the road parallel to the image plane. There are 5 shots but 6 panel slots: draw the shots in panels 1..5 and leave the remaining panel(s) COMPLETELY BLANK PURE WHITE — empty white paper, not even a frame line inside. ABSOLUTELY NO TEXT anywhere: no words, letters, captions, labels, sound effects or watermarks — the ONLY allowed marking is a small shot number digit (1, 2, 3, 4, 5) in a corner INSIDE each drawn panel. THE PANEL GRID FILLS THE ENTIRE IMAGE EDGE-TO-EDGE: no outer paper margin, no border area, nothing drawn outside the panels — the image must be mechanically cuttable along the stated cut lines. Panels are separated only by thin straight black gutter lines at the exact stated positions; ALL PANELS EXACTLY THE SAME SIZE.
